North PolarNorth Polar was created for the Lorne Sculpture Biennale, Lorne, Victoria.

Supermodel (the exhibition)Supermodel is a series of small assemblage sculptures constructed from found plastics, alongside abstract paintings, which are interpretations of these sculptures or 'supermodels'.

Ursa MajorUrsa Major was specifically created for the Melbourne Prize for Urban Sculpture 2014, Federation Square, Melbourne.

2013

Emporium
Louise Paramor: Emporium - A survey exhibition 1990-2013 was held at The Glen Eira City Council Gallery from 27th September to the 3rd November.

Wild CardsThe Wild Card series are a set of assemblages that, alongside industrial and domestic found plastics, incorporate ready-made fibreglass animals.

Noble ApeNoble Ape was specifically created for the exhibition Melbourne Now. The invitation to participate in the show provided an opportunity to produce a large scale Wild Card assemblage.

2012

Panorama StationPanorama Station is a permanent public sculpture commissioned by Southern Way for the Peninsula Link Freeway at the EastLink interchange, Melbourne in 2012.

2011

Six PerfectionsCreated for the ‘Buddha Enlightened 2BE’ , international workshop organised by Delhi based artists Sanjeev Sinha and Dianne Hagen. ‘Buddha Enlightened 2BE’ took place in Bodhgaya, Bihar, India in January 2011.

Stupa CityStupa City is comprised of four sets of works. The starting point is a group of figurative paper collages assembled from the residue of an earlier work (Letters, Lies & Alibis, 2004). The forms of these characters have been increased in scale to form the second set of works, painted onto glass, creating a different sensibility again, where geometric abstraction meets cubist funk.

2010

Top ShelfAward winning piece, created specifically for the McClelland Sculpture
Survey and Award, Victoria.

Mood BombMood Bomb was an exhibition of abstract oil paintings on (the back of) glass. As the title indicates these works were conceived intuitively and the paintings themselves ultimately suggested their own titles. Nellie Castan Gallery, Melbourne.

A Bunch of FlowersA Bunch of Flowers showcased three distinct groups of works: the first of many plastic assemblage Jam Session sculptures; three large bill-board scale Classic Shazzy car/girl collages and several large abstract collage works.

2005

Up She GoesUp She Goes is a 4-minute video loop where the hanging of a large collage work (in pieces) is reversed and sped up, with sound added. Linden – St Kilda Centre for Contemporary Arts, Melbourne

FOREVERYOURSFOREVERYOURS is a series of large collages meticulously assembled using pre-hand-painted gloss paper, which is cut into numerous shapes and then pasted to form images. This imagery comprises a variety of over-scaled interpretations of the Mills and Boon series’ covers.

Off-CutsOff-cuts was an exhibition of the first in a series of abstract collages constructed from the refuse of the FOREVERYOURS series of collages. Künstlerhaus Bethanien, Berlin

2002

The Love ArtistArticulated around the theme of eroticism, The Love Artist presents itself as an installation in three complementary parts. Breitengraser – room for contemporary sculpture, Berlin.

Outback
Heat (rug)Made specifically for the exhibition Elvis Has Just Left the Building, Perth Institute of Contemporary Art , Western Australia and Künstlerhaus Bethanien, Berlin, curated by Boris Kremer.

2001

Heart-OnHeart-On was an exhibition of honey-comb
paper sculptures, found objects and borrowed text, and was created
during a 3-month residency at IASKA

A Bunch of Flowers showcased
three distinct groups of works: the first of many plastic assemblage Jam
Session sculptures; three large bill-board scale Classic Shazzy car/girl
collages and several large abstract collage works.

Catalogue text by Chris McAuliffe:

Sculpture used to be about removing the bits that weren’t sculpture.
The everyday plastic items that Paramor gathers from Op shops and dumpsters
don’t have sculptures hidden within them. They become sculptures when
colours jar or harmonise, when internal volume and external projection
are mated effectively, when humble utility gives way to structure and
monument.
Louise Paramor shows that you can put a square peg into a round
hole. But it’s not simply a matter of brute force. Mashing found objects
together at random doesn’t make for sculpture. It’s more a case of
finding objects that don’t know that they’re sculptures and convincing
them to be more ambitious.

Only then do the subtle echoes of earlier aesthetic debates become
audible. Are these assemblages art because they render the functional
non-functional? As Malevich suggested, a vase becomes art when you
stop putting flowers in it. Or are they art because they so cleverly
sidestep the scholastic debates about colour and sculpture? Minimalists
and formalists alike fretted on the problem of colour applied to sculpture.
Paramor simply uses plastics whose colour is embedded within the very
material during the manufacturing process.

Intriguing reflections for an art historian, should he find a quiet
moment. But in the studio, it’s clear that what makes these assemblages
art is the element of improvisation and play that propels them. Making
involves matching disparate items through a process of trial and error,
of playing with the pieces until they speak effectively with each other.
Then they achieve a kind of classical disinterestedness; they are purposefully
without purpose.

Paramor’s large painted paper collages, which enlarge images from
calendars, show a different kind of play. The process of translating
an image into blocks of colour, then pasting together a simplified,
paint-by-numbers version of it, reminds me of school craft projects
and TV art programs for kids. The collages aren’t exercises in nostalgia,
however. While the psychedelic Photoshop flourishes of the originals
show how infinitely manipulable an image is, Paramor’s hand-made reiterations
insist on the fundamental formal structure of the image. Like her three-dimensional
constructions, these paper assemblages are a plea for architecture
as a primary characteristic of the art work.

A Bunch of Flowers was also shown at
Perth Institute of Contemporary Art, Western Australia in 2006.

The Classic Shazzy collages were created in Rotterdam, The Netherlands
in 2005, during a 3-month residency at Stichting Duende Aktiviteiten.

The solo exhibition entitled Classic Shazzy also took place
at Duende in 2005.

Classic Shazzy 2, was included in the group show Made in
Rotterdam,
Cokkie Snoei Gallery, Rotterdam in 2005. Classic Shazzy 1, was the
feature work for Cokkie Snoei Gallery at the 2005 Amsterdam Art Fair.

The three Classic Shazzy works were included in the group exhibition, Oomph,
Canberra Contemporary Art Space in 2007.

Jam Session #17, is owned by the National Gallery of Victoria.

A Bunch of Flowers was reviewed in The Age newspaper, The West
Australian newspaper and Art Collector Magazine.